DOCSLIB.ORG

Coversheet for Thesis in Sussex Research Online

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Coversheet for Thesis in Sussex Research Online A University of Sussex PhD thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details Depictions of power in the imperial art of the early Macedonian Emperors: Basil I, Leo VI and Alexander. Neil Churchill Doctor of Philosophy University of Sussex April 2016 This thesis has not been previously submitted to this or any other University for a degree. Neil Churchill CONTENTS Acknowledgements Abbreviations List of Figures List of Plates List of Tables Introduction and Literature Review p 1 Part One: Constructing Power Chapter 1: Images of Imperial Power p 56 Chapter 2: Innovation and Adaptation in Imperial Iconography p 85 Chapter 3: Emperors as Builders p 131 Part Two: Power Relations Chapter 4: Images of the Emperor and His Family p 173 Chapter 5: Emperors and Patriarchs p 208 Conclusions p 243 Bibliography p 253 Plates ACKNOWLEDGEMENTS I am grateful to the University of Sussex, Ian Murray and the wonderful Byzantine Greek Summer School for helping me learn the language. The University of Sussex supported me to visit Hagia Sophia and the Archaeology Museum in Istanbul. I would like to thank Dumbarton Oaks, Harvard Art Museums, Arthur M. Sackler Museum, the Bibliothèque Nationale, wildwinds.com, cngcoins.com and Stack’s Co Ltd for permission to reprint photographic images (specific credits are given in the List of Figures and Plates). I read or borrowed most of the secondary literature from the University Library, Cambridge. Professor Rosamond McKitterick and Jonathan Shepard first introduced me to early medieval kingship and Byzantine art respectively and I am delighted to have finally pursued a question that has intrigued me for twenty years. Professor Liz James has been an inspiring, dedicated and patient supervisor who knew how to build character. I have benefited from discussion and challenge from fellow members of the Art History Department at Sussex and participants at seminars run by the Society for the Promotion of Byzantine Studies, the Oxford Byzantine Society and the International Medieval Congress in Leeds. I would also like to thank my parents Ron and Shirley Churchill for making this thesis possible. ABBREVIATIONS CCSG Corpus Christianorum, Series Graeca. CFHB Corpus Fontium Historiae Byzantinae. CSCO Corpus Scriptorum Christianorum Orientalium. CSHB Corpus Scriptorum Histoiae Byzantinae. Mansi Sacrorum Conciliorum Nova et Amplissima Collectio. ODB The Oxford Dictionary of Byzantium, I - III, ed. by A. Kazhdan (Oxford, 1991). Paris Gregory Codex Graecus 510, the Homilies of Gregory of Nazianzus, in the Bibliothèque Nationale, Paris. PG Patrologiae Cursus Completus, Series Graeca, 1 - 161, ed. J.P. Migne (Paris, 1857-1866). Sacra Parallela Codex Graecus 923, a florilegium, in the Bibliothèque Nationale, Paris. Vita Basilii Chronographia Quae Theophanis Continuati Nomine Fertur Liber Quo Vita Basilii Imperatoris Amplectitur, ed. I. Š evčenko, (Berlin, 2011). FIGURES 1a & b: Gold Solidus of Theophilos, Class I, 829-830, p 58 Obverse and Reverse, Malcolm Hackman Collection. With permission of wildwinds.com and cngcoins.com 2a & b: Gold Solidus of Michael III, Class III, 856-867, p 58 Obverse and Reverse, Accession Number BZ 1948.17.2692. © Dumbarton Oaks, Byzantine Collection, Washington DC. 3a & b: Gold Solidus, Basil I, Class III, 882, p 59 Obverse and Reverse, Freeman and Sear Collection. With permission of wildwinds.com, courtesy of Freeman & Sear 4a & b: Gold Solidus of Basil I, full standing figure, Class I, 868, p 59 Obverse and Reverse, Accession Number BZ.1948.17.2708. © Dumbarton Oaks, Byzantine Collection, Washington DC. 5a & b: Gold Solidus of Leo VI as older man, Class I, 886-908, p 65 Obverse and Reverse, from a Private Collection. With permission of wildwinds.com and cngcoins.com 6: Image of Constantine I, 847-870s, p 77 Patriarchal Rooms, Hagia Sophia. © Dumbarton Oaks, Byzantine Collection, Washington DC. 7a & b: Gold Solidus of Leo V, Class I, 813, p 87 Obverse and Reverse, Freeman and Sear Collection. With permission of wildwinds.com, courtesy of Freeman & Sear Gemini I 8a & b: Gold Solidus of Michael II, Class I, 821, p 87 Obverse and Reverse, the Golden Horn Collection. Courtesy of Stack’s Co. Ltd 9a & b: Copper Follis of Leo V and Constantine, Class II, 813-820, p 88 Obverse and Reverse, from a Private Collection. With permission of wildwinds.com for A.L Fournier 10a & b: Copper Follis of Michael II and Theophilos, Class II, p 88 821-829, Obverse and Reverse, the H. D. Rauch Collection With permission of wildwinds.com and H.D. Rauch GmbH. 11a & b: Copper Follis, Basil I, Basil enthroned, Class V, 879-886, p 91 Obverse and Reverse, Malcolm W. Heckman Collection. With permission of wildwinds.com and cngcoins.com 12a & b: Gold Solidus, Alexander, crowning image, Class II, p 121 912-913, Obverse and Reverse, from a Private Collection, With permission of wildwinds.com and cngcoins.com 13a & b: Silver Miliaresion, Alexander, 912-913, p 124 Obverse and Reverse, Harvard Art Museums/ Arthur M. Sackler Museum, Bequest of Thomas Whittemore, © President and Fellows of Harvard College 14a & b: Gold Solidus of Theophilos with Michael II & Constantine, p 183 Obverse and Reverse, Class III, 830-840, With permission of wildwinds.com and cngcoins.com 15a & b: Gold Solidus of Theodora with Michael III and Thekla, p 186 Obverse and Reverse, Class I, 842-843, With permission of wildwinds.com and cngcoins.com 16a & b: Seal of Leo VI, depicting Leo and Alexander, 886 - 912, p 188 Obverse and Reverse, Accession Number BZS.1955.1.4298 © Dumbarton Oaks, Byzantine Collection, Washington DC. 17a & b: Seal of Alexander, with a second figure (now missing), p 193 912-913, Obverse and Reverse, Accession Number BZS.1955.1.4296 © Dumbarton Oaks, Byzantine Collection, Washington DC. 18: Seal of Basil I, showing Basil I and Constantine, 869-879, p 196 Reverse, Accession Number BZS.1951.31.5.42, © Dumbarton Oaks, Byzantine Collection, Washington DC. TABLES 1: Iconography of Basil I’s Coins . p 92 2: Iconography of Basil I’s Seals. p 93 3: Iconography of Leo VI’s Coins. p 113 4: Iconography of Leo VI’s Seals . p 114 5: Iconography of Alexander’s Coins. P 119 6: Iconography of Alexander’s Seals. P 119 7: Coin types with imperial figures, reign of Basil I. p 175 8: Seal types with imperial figures, reign of Basil I. p 176 9: Coin types with imperial figures, reign of Leo VI. P 185 10: Seal types with imperial figures, reign of Leo VI. P 186 11: Coin types with imperial figures, reign of Alexander. P 190 12: Seal types with imperial figures, reign of Alexander. P 191 13: Schema for David narratives in the Paris Gregory, p 221 Sacra Parallela and the David Casket. 14: Characteristics of imperial art, 867 - 913. P 244 PLATES 1: Homilies of Gregory of Nazianzus, BN Ms. Gr. 510, Folio Cv, Basil being crowned by Gabriel, Bibliothèque Nationale, Paris. Photo: Bibliothèque Nationale. 2: Homilies of Gregory of Nazianzus, BN Ms. Gr. 510, Folio Br: Eudokia, Leo and Alexander, Bibliothèque Nationale, Paris. Photo: Bibliothèque Nationale. 3: Homilies of Gregory of Nazianzus, BN Ms. Gr. 510, Folio 174v, the anointing of David, Bibliothèque Nationale, Paris. Photo: Bibliothèque Nationale. 4: Homilies of Gregory of Nazianzus, BN Ms. Gr. 510, Folio 355r: the Council of 381, Bibliothèque Nationale, Paris. Photo: Bibliothèque Nationale. 5: Mosaic of an emperor before Christ, narthex, Hagia Sophia, Istanbul. Photo: Neil Churchill. 6: Detail of emperor in narthex mosaic, Hagia Sophia, Istanbul. Photo: Neil Churchill. 7: Location of mosaic of Emperor Alexander, North Gallery, Hagia Sophia, Istanbul. Photo: Neil Churchill. 8: Mosaic of Emperor Alexander, North Gallery, Hagia Sophia, Istanbul. Source: Neil Churchill. SUMMARY The last comprehensive study of Byzantine imperial art was published in 1936 and there have been surprisingly few investigations of the art of the Macedonian Dynasty, despite their reputation as active propagandists. Most studies of imperial art have taken a centuries-long perspective, identifying major patterns but overlooking choices made by or on behalf of individual emperors. This thesis considers imperial in the reigns of the first three Macedonain Emperors: Basil (867 - 886) and his sons Leo (886 - 912) and Alexander (912 - 913). It seeks to understand how they constructed images of their power and what imperial art says about the power dynamics at Constatinople. Chapter 1 considers imperial portraits. It concludes that although elements of the imperial image were unchanging, there were nevertheless important differences in the public images put forward by each emperor. Basil’s physical power was often depicted, whilst Leo was depicted as a wise ruler. Aspects of emperor’s private lives are also visible in their art. Chapter 2 charts the changing iconography between reigns. It studies the emergence and development of the motif of an emperor being crowned by a heavenly figure, which signified the idea of anointing, and its assimilation into imperial art. The chief innovator in terms of imperial iconography, however, was Alexander, and not Basil. Chapter 3 considers Basil and Leo’s records as builders and renovators of churches, monasteries, palaces and other buildings. Whilst multiple motives were at work, Basil and Leo acted in different ways. Basil’s activity, it is argued, partly reflected his response to the earthquake of 869, which might have jeopardised the perceived legitimacy of his seizure of power in 867.
Load more

Recommended publications
  • Processes of Byzantinisation and Serbian Archaeology Byzantine Heritage and Serbian Art I Byzantine Heritage and Serbian Art I–Iii
    I BYZANTINE HERITAGE AND SERBIAN ART I BYZANTINE HERITAGE AND SERBIAN ART AND SERBIAN BYZANTINE HERITAGE PROCESSES OF BYZANTINISATION AND SERBIAN ARCHAEOLOGY BYZANTINE HERITAGE AND SERBIAN ART I BYZANTINE HERITAGE AND SERBIAN ART I–III Editors-in-Chief LJUBOMIR MAKSIMOVIć JELENA TRIVAN Edited by DANICA POPOVić DraGAN VOJVODić Editorial Board VESNA BIKIć LIDIJA MERENIK DANICA POPOVić ZoraN raKIć MIODraG MARKOVić VlADIMIR SIMić IGOR BOROZAN DraGAN VOJVODić Editorial Secretaries MARka TOMić ĐURić MILOš ŽIVKOVIć Reviewed by VALENTINO PACE ElIZABETA DIMITROVA MARKO POPOVić MIROSLAV TIMOTIJEVIć VUJADIN IVANIšEVić The Serbian National Committee of Byzantine Studies P.E. Službeni glasnik Institute for Byzantine Studies, Serbian Academy of Sciences and Arts PROCESSES OF BYZANTINISATION AND SERBIAN ARCHAEOLOGY Editor VESNA BIKIć BELGRADE, 2016 PUBLished ON THE OCCasiON OF THE 23RD InternatiOnaL COngress OF Byzantine STUdies This book has been published with the support of the Ministry of Education, Science and Technological Development of the Republic of Serbia CONTENTS PREFACE 11 I. BYZANTINISATION IN THE ARCHAEOLOGICAL CONTEXT THE DYNAMICS OF BYZANTINE–SERBIAN POLITICAL RELATIONS 17 Srđan Pirivatrić THE ‘MEDIEVAL SERBIAN OECUMENE’ – FICTION OR REALITY? 37 Mihailo St. Popović BYZANTINE INFLUENCE ON ADMINISTRATION IN THE TIME OF THE NEMANJIĆ DYNASTY 45 Stanoje Bojanin Bojana Krsmanović FROM THE ROMAN CASTEL TO THE SERBIAN MEDIEVAL CITY 53 Marko Popović THE BYZANTINE MODEL OF A SERBIAN MONASTERY: CONSTRUCTION AND ORGANISATIONAL CONCEPT 67 Gordana
    [Show full text]
  • A Sustainable View to Fener ‐ Balat District
    Papers A Sustainable View to Fener ‐ Balat District Kishali E. Politecnico di Milano, Building Environment Science Technology (BEST) [email protected] Grecchi M. Politecnico di Milano, Building Environment Science Technology (BEST) [email protected] TRADITIONAL TECHNIQUES AND DISTRICT REHABILITATION Sustainable rehabilitation and preservation strategies in historic quarters Industrialisation, started with Industrial Revolution in mid 18th century by the invention of machines but advanced fast in early 19th century by establishing factories in large areas, has changed various aspects of life in terms of economy, architecture, design, and construction, rate of production, social life and politics. However one aspect, the nature, became very important in architecture field when there have been various and serious problems on four basic elements of planet: earth, air, water and fire. All these elements have been influenced badly after industrialisation period due to high demand for rapid and heavy construction regarding the all aspects above. Nowadays, in architecture it is inevitable to find a link between nature and construction, engineering and design to preserve the resources of life which can be called sustainability. This link is very essential in today's new architectural designs to sustain environment but it is more interesting and difficult to find the sustainable link for historical buildings which were constructed during economical revolutions. The structures were constructed with peculiar technology, serviceability in its own environment and definite district, as the time passes the possibility to withstand changing environment conditions would become complicated. In this paper, historical residential buildings, constructed in 19th century in Fener – Balat Istanbul, Turkey, an important example of cultural heritage district, will be analysed in terms of three different views.
    [Show full text]
  • Χρονολόγηση Γεωγραφικός Εντοπισμός Great Palace In
    IΔΡΥΜA ΜΕΙΖΟΝΟΣ ΕΛΛΗΝΙΣΜΟΥ Συγγραφή : Westbrook Nigel (21/12/2007) Για παραπομπή : Westbrook Nigel , "Great Palace in Constantinople", 2007, Εγκυκλοπαίδεια Μείζονος Ελληνισμού, Κωνσταντινούπολη URL: <http://www.ehw.gr/l.aspx?id=12205> Great Palace in Constantinople Περίληψη : The Great Palace of the byzantine emperors was the first imperial palace in Constantinople. It was founded as such, supposedly by Constantine the Great, in his newly founded capital. It remained the primary imperial palace in Constantinople up to and beyond the reign of emperor Constantine VII (913-959), in whose Book of Ceremonies its halls are named. Χρονολόγηση 4th-10th c. Γεωγραφικός εντοπισμός Constantinople, Istanbul 1. Introduction The Great Palace of the Byzantine Emperors in Constantinople was the ceremonial heart of the Byzantine Empire for a millennium, and occupied a site that is now recognized as a World Heritage precinct [Fig. 1].1 The Great Palace has a high cultural and historical significance, exerting a significant influence on both Western European and Levantine palatine architecture, and forming a link between Imperial Roman and medieval palaces. It is, nonetheless, only partially understood. Its remains are largely buried under later structures, notably the Sultan Ahmet Mosque, and can only be interpreted through texts and old representations. 2. The Upper Palace, including the Daphne Palace The oldest portion of the Great Palace, the Palace of Daphne, built by Constantine the Great and his successors in the 4th and 5th centuries, was a complex that is thought to have occupied the site upon which the Sultan Ahmet, or Blue, Mosque now stands. Its immediate context comprised: the Hippodrome and adjacent palaces; the Baths of Zeuxippos; the Imperial forum or Augustaion, where Justinian I erected his equestrian statue on a monumental column in the 6th century; the churches of St.
    [Show full text]
  • Byzantine Conquests in the East in the 10 Century
    th Byzantine conquests in the East in the 10 century Campaigns of Nikephoros II Phocas and John Tzimiskes as were seen in the Byzantine sources Master thesis Filip Schneider s1006649 15. 6. 2018 Eternal Rome Supervisor: Prof. dr. Maaike van Berkel Master's programme in History Radboud Univerity Front page: Emperor Nikephoros II Phocas entering Constantinople in 963, an illustration from the Madrid Skylitzes. The illuminated manuscript of the work of John Skylitzes was created in the 12th century Sicily. Today it is located in the National Library of Spain in Madrid. Table of contents Introduction 5 Chapter 1 - Byzantine-Arab relations until 963 7 Byzantine-Arab relations in the pre-Islamic era 7 The advance of Islam 8 The Abbasid Caliphate 9 Byzantine Empire under the Macedonian dynasty 10 The development of Byzantine Empire under Macedonian dynasty 11 The land aristocracy 12 The Muslim world in the 9th and 10th century 14 The Hamdamids 15 The Fatimid Caliphate 16 Chapter 2 - Historiography 17 Leo the Deacon 18 Historiography in the Macedonian period 18 Leo the Deacon - biography 19 The History 21 John Skylitzes 24 11th century Byzantium 24 Historiography after Basil II 25 John Skylitzes - biography 26 Synopsis of Histories 27 Chapter 3 - Nikephoros II Phocas 29 Domestikos Nikephoros Phocas and the conquest of Crete 29 Conquest of Aleppo 31 Emperor Nikephoros II Phocas and conquest of Cilicia 33 Conquest of Cyprus 34 Bulgarian question 36 Campaign in Syria 37 Conquest of Antioch 39 Conclusion 40 Chapter 4 - John Tzimiskes 42 Bulgarian problem 42 Campaign in the East 43 A Crusade in the Holy Land? 45 The reasons behind Tzimiskes' eastern campaign 47 Conclusion 49 Conclusion 49 Bibliography 51 Introduction In the 10th century, the Byzantine Empire was ruled by emperors coming from the Macedonian dynasty.
    [Show full text]
  • BYZANTINE CAMEOS and the AESTHETICS of the ICON By
    BYZANTINE CAMEOS AND THE AESTHETICS OF THE ICON by James A. Magruder, III A dissertation submitted to Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland March 2014 © 2014 James A. Magruder, III All rights reserved Abstract Byzantine icons have attracted artists and art historians to what they saw as the flat style of large painted panels. They tend to understand this flatness as a repudiation of the Classical priority to represent Nature and an affirmation of otherworldly spirituality. However, many extant sacred portraits from the Byzantine period were executed in relief in precious materials, such as gemstones, ivory or gold. Byzantine writers describe contemporary icons as lifelike, sometimes even coming to life with divine power. The question is what Byzantine Christians hoped to represent by crafting small icons in precious materials, specifically cameos. The dissertation catalogs and analyzes Byzantine cameos from the end of Iconoclasm (843) until the fall of Constantinople (1453). They have not received comprehensive treatment before, but since they represent saints in iconic poses, they provide a good corpus of icons comparable to icons in other media. Their durability and the difficulty of reworking them also makes them a particularly faithful record of Byzantine priorities regarding the icon as a genre. In addition, the dissertation surveys theological texts that comment on or illustrate stone to understand what role the materiality of Byzantine cameos played in choosing stone relief for icons. Finally, it examines Byzantine epigrams written about or for icons to define the terms that shaped icon production.
    [Show full text]
  • Byzantine Missionaries, Foreign Rulers, and Christian Narratives (Ca
    Conversion and Empire: Byzantine Missionaries, Foreign Rulers, and Christian Narratives (ca. 300-900) by Alexander Borislavov Angelov A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (History) in The University of Michigan 2011 Doctoral Committee: Professor John V.A. Fine, Jr., Chair Professor Emeritus H. Don Cameron Professor Paul Christopher Johnson Professor Raymond H. Van Dam Associate Professor Diane Owen Hughes © Alexander Borislavov Angelov 2011 To my mother Irina with all my love and gratitude ii Acknowledgements To put in words deepest feelings of gratitude to so many people and for so many things is to reflect on various encounters and influences. In a sense, it is to sketch out a singular narrative but of many personal “conversions.” So now, being here, I am looking back, and it all seems so clear and obvious. But, it is the historian in me that realizes best the numerous situations, emotions, and dilemmas that brought me where I am. I feel so profoundly thankful for a journey that even I, obsessed with planning, could not have fully anticipated. In a final analysis, as my dissertation grew so did I, but neither could have become better without the presence of the people or the institutions that I feel so fortunate to be able to acknowledge here. At the University of Michigan, I first thank my mentor John Fine for his tremendous academic support over the years, for his friendship always present when most needed, and for best illustrating to me how true knowledge does in fact produce better humanity.
    [Show full text]
  • The Costume of Byzantine Emperors and Empresses ’
    Shaw, C. (2011) ‘The Costume of Byzantine Emperors and Empresses ’ Rosetta 9.5: 55-59. http://www.rosetta.bham.ac.uk/colloquium2011/shaw_costume.pdf http://www.rosetta.bham.ac.uk/colloquium2011/shaw_costume.pdf The Costume of the Byzantine Emperors and Empresses Carol Shaw PhD candidate, 4th year (part-time) University of Birmingham, College of Arts and Law [email protected] The Costume of the Byzantine Emperors and Empresses The first Roman emperors were all members of the senate and continued to belong to it throughout their reigns.1 All the members of the senate including the emperor wore tunics and togas decorated with a wide purple band, the latus clavus, and special footwear.2 During the period of instability in the early third century several emperors were selected by the army.3 Initially this shift in power did not affect court ceremony and dress; but slowly both began to change. Court ceremony became more formal and emperors distanced themselves even from senators.4 During the late third century, Diocletian introduced the new court ceremony of the adoration of the purple; according to Aurelius Victor, the emperor also wore richly brocaded purple robes, silks and jeweled sandals.5 Diocletian’s abdication ceremony illustrates that court ceremony and dress often remained very simple. The only garment closely associated with imperial power at this time was the emperor’s purple robes. In his On the Deaths of the Persecutors, Lactantius records that in AD 305 when Diocletian abdicated, the ceremony consisted of the emperor standing under a statue of his patron deity, 1 Under the law the Lex Ovinia (enacted by 318 BC), censors selected each senator according to certain criteria.
    [Show full text]
  • Paul MAGDALINO Domaines De Recherche Adresse Personnelle
    Paul MAGDALINO Professeur émérite de l’Université de St Andrews (Ecosse) Distinguished Research Professor, Koç University, Istanbul Membre de l’Académie Britannique Domaines de recherche Culture littéraire et religieuse de Constantinople Mentalités et représentation du pouvoir Urbanisme métropolitain et provincial Adresse personnelle 2 route de Volage, 01420, Corbonod, France Tél. 04 57 05 10 54 Curriculum vitae Né le 10 mai 1948 Etudes à Oxford, 1967-1977 Doctorat (DPhil) 1977 Enseignant (Maître de conférences, professeur associé, professeur), University of Saint Andrews, 1977-2009 Professeur à l’Université Koç d’Istanbul, 2004-2008 et 2010-2014 Fellow à Dumbarton Oaks, 1974-1975, 1994, 2013, 2015 Andrew Mellon Fellow, Catholic University of America, 1976-1977 A. v. Humboldt- Stipendiat, Frankfurt (1980-1981), Munich (1983), Berlin (2013) Professeur invité, Harvard University, 1995-1996 Directeur d’études invité, EPHE (1997, 2007), EHESS (2005) Chercheur invité à Dumbarton Oaks, 2006 Membre de l’Académie britannique depuis 2002 Membre correspondant de l’Institut de recherches byzantines de l’Université de Thessalonique (depuis 2010) Comités scientifiques et éditoriaux 1992 –Collection 'The Medieval Mediterranean', Brill 1993– Committee for the British Academy project on the Prosopography of the Byzantine Empire. 2001–7 Senior Fellows Committee, Dumbarton Oaks, Program in Byzantine Studies 2002 – Collection ‘Oxford Studies in Byzantium', Oxford University Press. 2006- La Pomme d’or, Geneva, chief editor 2007 – Comoité editorial de la revue Byzantinische Zeitschrift 2013-2014 – Editorial board of Koç University Press Publications Ouvrages 1976 (en collaboration avec Clive Foss) Rome and Byzantium (Oxford, 1976) 1991 Tradition and Transformation in Medieval Byzantium (Aldershot 1992) 1993 The Empire of Manuel I Komnenos, 1143-1180 (Cambridge, 1993).
    [Show full text]
  • Georgiadi, F.-E. (2021): 'Classicising Histories, Chronicles, and The
    Georgiadi, F.-E. (2021): ‘Classicising histories, chronicles, and the advantages and disadvantages that are associated with these terms as used by modern scholars to describe Byzantine historical narratives.’ Rosetta 26: 44-49 http://www.rosetta.bham.ac.uk/issue26/Georgiadi.pdf Classicising histories, chronicles, and the advantages and disadvantages that are associated with these terms as used by modern scholars to describe Byzantine historical narratives Foivi-Eirini Georgiadi1 In Byzantine literature (which we nowadays know historical writing to be),2 there was a relative (but not strict or clear) distinction between histories (“ἱστορία”) and chronicles (“χρονικόν” or “χρονογραφία”). Histories were written in classical Attic Greek, according to the stylistic rules set by the ancient Greek tradition of history writing (mainly by Herodotus3 and Thucydides), and covered a relatively short period of time, close to the times when historians themselves had lived. Chronicles, on the other hand, were written in a simpler, less difficult language (although not in the vernacular). They either covered the period from the Creation of the world to the time of their composition (or perhaps a little before that), or continued the chronicle of another author, which had again started with the Creation. Early chronicles, such as the Chronicon Paschale of the seventh century and that of Theophanes Confessor (eighth/ninth century), were rather laconic, as they were structured year by year in order to record various events in a very succinct way. Subsequently, chronicles, such as those of John Skylitzes (late eleventh century), John Zonaras, Constantine Manasses and Michael Glykas (all dated to the twelfth century), were written in a language that combined Attic Greek and forms that were close to the spoken language.
    [Show full text]
  • Middle Byzantine Numismatics in the Light of Franz Füeg's Corpora Of
    This is a repository copy of Middle Byzantine Numismatics in the Light of Franz Füeg’s Corpora of Nomismata. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/124522/ Version: Accepted Version Article: Jarrett, J orcid.org/0000-0002-0433-5233 (2018) Middle Byzantine Numismatics in the Light of Franz Füeg’s Corpora of Nomismata. Numismatic Chronicle, 177. pp. 514-535. ISSN 0078-2696 © 2017 The Author. This is an author produced version of a paper accepted for publication in Numismatic Chronicle. Uploaded in accordance with the publisher's self-archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ REVIEW ARTICLE Middle Byzantine Numismatics in the Light of Franz Füeg’s Corpora of Nomismata* JONATHAN JARRETT FRANZ FÜEG, Corpus of the Nomismata from Anastasius II to John I in Constantinople 713–976: Structure of the Issues; Corpus of Coin Finds; Contribution to the Iconographic and Monetary History, trans.
    [Show full text]
  • The Developmentof Early Imperial Dress from the Tetrachs to The
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Birmingham Research Archive, E-theses Repository University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. The Development of Early Imperial Dress from the Tetrarchs to the Herakleian Dynasty General Introduction The emperor, as head of state, was the most important and powerful individual in the land; his official portraits and to a lesser extent those of the empress were depicted throughout the realm. His image occurred most frequently on small items issued by government officials such as coins, market weights, seals, imperial standards, medallions displayed beside new consuls, and even on the inkwells of public officials. As a sign of their loyalty, his portrait sometimes appeared on the patches sown on his supporters’ garments, embossed on their shields and armour or even embellishing their jewelry. Among more expensive forms of art, the emperor’s portrait appeared in illuminated manuscripts, mosaics, and wall paintings such as murals and donor portraits. Several types of statues bore his likeness, including those worshiped as part of the imperial cult, examples erected by public 1 officials, and individual or family groupings placed in buildings, gardens and even harbours at the emperor’s personal expense.
    [Show full text]
  • Ecaade 2021 Towards a New, Configurable Architecture, Volume 2
    eCAADe 2021 Towards a New, Configurable Architecture Volume 2 Editors Vesna Stojaković, Bojan Tepavčević, University of Novi Sad, Faculty of Technical Sciences 1st Edition, September 2021 Towards a New, Configurable Architecture - Proceedings of the 39th International Hybrid Conference on Education and Research in Computer Aided Architectural Design in Europe, Novi Sad, Serbia, 8-10th September 2021, Volume 2. Edited by Vesna Stojaković and Bojan Tepavčević. Brussels: Education and Research in Computer Aided Architectural Design in Europe, Belgium / Novi Sad: Digital Design Center, University of Novi Sad. Legal Depot D/2021/14982/02 ISBN 978-94-91207-23-5 (volume 2), Publisher eCAADe (Education and Research in Computer Aided Architectural Design in Europe) ISBN 978-86-6022-359-5 (volume 2), Publisher FTN (Faculty of Technical Sciences, University of Novi Sad, Serbia) ISSN 2684-1843 Cover Design Vesna Stojaković Printed by: GRID, Faculty of Technical Sciences All rights reserved. Nothing from this publication may be produced, stored in computerised system or published in any form or in any manner, including electronic, mechanical, reprographic or photographic, without prior written permission from the publisher. Authors are responsible for all pictures, contents and copyright-related issues in their own paper(s). ii | eCAADe 39 - Volume 2 eCAADe 2021 Towards a New, Configurable Architecture Volume 2 Proceedings The 39th Conference on Education and Research in Computer Aided Architectural Design in Europe Hybrid Conference 8th-10th September
    [Show full text]